20th Century Fox via Everett Collection
It's been a big year for film releases, and we mean that in every sense of the word. Everything about 2013 was big, whether it was Alfonso Cuarón documenting the vast expanse of space, or Guillermo del Toro showcasing the massive monster battles, most blockbusters in 2013 went for a "bigger is better" approach, and succeeded for the most part. This idea of going big or going home is probably why The Wolverine got lost in the shuffle this year, but it is also why the film stands out against the other spectacle-laden films that came out this year.
In a year when everyone else went big, Wolverine went small. Instead of telling an expansive story that changes the overarching X-Men mythos, this film decided to tell a more personal story that attempted to examine the man behind the claws and the rapid healing factor. Releasing on Redbox Instant by Verizon on Dec. 31, we're inclined to suggest that everyone revisit the overlooked 20th Century Fox film. In The Wolverine, we meet up with Logan hiding up in the cliffs of Canada until a mysterious Japanese woman comes looking for him. What follows is a somber adventure through the streets of Japan that sees Logan getting wrapped up in the conflicts of a wealthy Japanese family, and eventually coming to terms with some past demons.
The thing that makes The Wolverine stand out amidst the other super hero films this year is that there are not world-ending plagues, or monsters waiting to tear up a city. The film's conflict revolves around one family, and a few outside characters, and it's a nice change of pace from every other comic book film that seems to build up into some city destroying or world ending calamity. While you may have been to busy with Man of Steel or re-watching The Avengers for the umpteenth time, you may have missed a forgotten gem of the year. It might be scuffed around the edges, but it's still worth a look.
The Wolverine leads a pack of other 2013 films releasing through Redbox Instant by Verizon's kiosk and screening platforms at the onset of 2014. Check out the list of new titles below:
At the kiosk, via Redbox Instant by Verizon...The Wolverine (available 12/31)Despicable Me 2 (available 1/7)Fast &amp; Furious 6 (available 1/7)Prisoners (available 1/14)Percy Jackson: Sea of Monsters (available 1/14)Lee Daniels’ The Butler (available 1/14)The Family (available 1/14)Captain Phillips (available 1/21)Cloudy With a Chance of Meatballs 2 (available 1/28)Jackass Presents: Bad Grandpa (available 1/28)Rush (available 1/28)
And coming in January via Redbox Instant...The Guilt TripTexas ChainsawJack ReacherHansel &amp; Gretel: Witch HuntersThe Last StandRed Dawn (1984) &amp; Red Dawn (2012)Star Trek: The Motion Picture, Star Trek II: The Wrath of Khan, Star Trek III: The Search for Spock
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Warner Bros.
Give Martin Freeman an empty room and he'll give you comedy. The best parts of The Hobbit: An Unexpected Journey — an admittedly mishandled movie in large — involved his subdued grimaces, his Chaplinian waddling, and the way he carried himself with equal parts neurosis and snark in every scene. If there is one primary misstep of An Unexpected Journey's terrifically improved sequel, The Desolation of Smaug, it is the spiritual absence of Bilbo Baggins.
Freeman's good-natured but disgruntled Hobbit takes a backseat to the Dwarf team in this chapter of Peter Jackon's three-part saga, distributing the heavy lifting among the front lines of the bearded mooks. Thankfully, we're not shafted with too much "Thorin's destiny" backstory, instead focusing on the trek forward, through far more interesting terrain than we got last time around. The Dwarves voyage through a trippy woodland that'll conjur fond memories of The Legend of Zelda's unnavigable forest levels and inside the borders of Lake-town, a man-occupied working class monarchy that is more vivid and living than any place we have seen yet in the series. And while Unexpected Journey's goblin caverns might have been cool to look at, none of the quests in Desolation feel nearly as close to a tangential detour. Every step the Dwarves take is one that beckons us closer to the central, increasingly engaging story.
Desolation is not entirely without its curiosities. While Gandalf's mission to meet the Necromancer serves to connect the Hobbit trilogy to the Lord of the Rings movies, the occasional cuts over to the wizard's pursuits are primarily distracting and just a bit dull. Although we're happy to welcome the Elf race back into our Middle-earth adventures, it's easy to imagine a version of this story that didn't involve side characters like Legolas and Kate... I mean, Tauriel... and still felt whole (perhaps even more cohesive). The latter's love affair with hot Dwarf Kili seems like a last minute addition to the canon, and one not built on anything beyond the cinematic rule that two sexually compatible attractive people should probably have something brewing alongside all the action.
Warner Bros.
But the most egregious of crimes committed by Desolation is, unquestionably, the shafting of Bilbo Baggins to secondary status. Yes, he proves himself a savior to his fellow travelers four times in the film, but long stretches of action go by without so much as a word from the wide-eyed burglar. When he finally takes center stage in his theatrical face-off with Smaug — an exercise in double-talk reminiscent of Oedipus outsmarting the Sphinx — the film picks up with a new, cool energy, with a chilling fun laced around the impending doom of their back-and-forth. We've been waiting since the first frames of Unexpected to see how the dragon material will pay off, and it does in spades... albeit in the final third of Desolation, but with equal parts gravitas and fun, to reunite us with our Tolkien passions once more.
Benedict Cumberbatch's dragon doesn't do much to subvert expectation — he's slithering, sadistic, vain, manipulative, and vaguely Londonian. But tradition feels good here. Smaug's half hour spent toying with the mousey Bilbo (who does get a chance to showcase his aptitude at small-scale physical comedy here) is terrific in every way.
Its Hobbit problem aside, Desolation proves itself worthy of Bilbo's past proclamation. "I'm going on an adventure!" more than pays off here, in the form of mystifying boat rides, edge-of-your-seat efforts in dragon slaying, and the most joyful action set piece we've seen in years. Twelve Dwarves, twelve barrels, and one roaring river amounts for enough fun to warrant your trip to the theater for this latest outing into Middle-earth.
3.5/5
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Disney
Frozen, the new animated film by Disney earns its charms the honest way: with smart writing and heartfelt performances. It's not an easy thing to pull off in an animated film, but when it works, it gives a digitally rendered 3D film a shimmer that allows it to stand above the other stuff effortlessly. Once again, Disney stands as the animation studio to beat come Oscar time, and it's well-earned.
The film is so loosely based on "The Snow Queen," a fairy tale by Hans Christian Andersen, that the story only gets an "inspired by" credit, so comparisons are futile. This is a Disney princess story through and through (oh, the marketing possibilities with two new princesses for the price of one!). However, the sensitively drawn characters by screenwriter and co-director Jennifer Lee (Wreck-It Ralph) evoke a precious sympathy through humor and wit.
Anna (voiced by Kristen Bell) and older sister Elsa (voiced by Idina Menzel) grow up as inheritors to the kingdom of Arendelle, in a mythical version of Norway. Elsa, imbued with the ability to create ice and snow with the flick of a wrist, must hide her magical powers for fear of endangering the lives of loved ones and being revealed as a witch. She therefore stays shut in her room, her sister Anna left to yearn for their connection, as they come of age on their own. This sacrifice makes her a stranger to her younger sister.
When the time comes to coronate a new queen, Elsa must face her fear of trying to restrain her power while becoming the center of attention in the kingdom. Of course things go awry, and she unwittingly unleashes an eternal winter upon the kingdom. Elsa flees to the snowy mountains in the distance, and Anna chases after her with a guilty sense of responsibility. Along the way, Anna makes cautious friends with ice-harvesting Kristoff (Jonathan Groff) and his faithful reindeer Sven. Their necessary alliance inevitably grows into something more intimate in charming, hesitant steps.
Then there's Olaf (Josh Gad), a magical talking (and singing) snowman who's still trying to figure out his own existence and misguidedly pines for the romance of summer. The fact that he is loosely assembled from balls of snow that easily come apart will delight the kids. But the fact that almost everything he says, with brilliantly timed delivery by Gad, has a wry wit will delight the older fans of layered humor.
Aside from co-director Chris Buck (who also co-directed Disney's Tarzan), the filmmakers are a young group, and this brings a freshness to the Disney humor. Besides one disgusting reference to boogers that doubles as a potshot at men, the jokes forgo the base and easy gross-out humor and walk a precious line of relatable gawkiness and humility. The awkward self-awareness continues in the songs by Kristen Anderson-Lopez and Robert Lopez, whose lyrics walk a wide-ranging line, as they also rise to powerful emotional heights. Menzel does particularly strong work when handling the movie's single "Let It Go." Her voice glows with humanity and stirring ragged edges.
When a film like this can melt the cynicism from a writer like me, it deserves recognition. The stereoscopic 3D is as warm as you would expect from a Disney production. The textures of ice alone offer many fascinating visual moments. Frozen towers above any mainstream animated film released this year as far as quality of graphic and writing. The subtleties of its pace only somewhat comes undone toward the end, when the filmmakers get a little too caught up with action sequences and plot twists. But, by then you are ready to forgive any shortcomings, as Frozen has melted your heart.
4/5
A special mention is owed to the film’s opening 7-minute short, "Get A Horse!" At first, it seems like a long-lost slap-sticky 1930s-era Mickey Mouse cartoon. As a chase between Mickey and the vintage villain Peg-Leg Pete ensues, the characters burst through the screen in 3D, and the chase continues, weaving between olden times, hand-drawn black and white animation and stereoscopic 3D. Director Lauren MacMullan (The Simpsons) takes the set pieces to meta levels transforming the screen to not only an active player in the action but to surreal heights of perspective manipulation, celebrating 3D to pinnacles rarely achieved.
"Get A Horse!": 5/5
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The CW
Firstly, let's all take a moment to give Nina Dobrev some much deserved credit. It is completely insane that that girl is playing THREE different doppelgangers, and doing such an amazing job at it. How she avoids getting completely confused or exhausted in the performances is pretty astonishing. Nina, you're one of the key reasons we're all still watching TVD. But the rest of this week's episode is also pretty great, with some much needed resolution to a few story lines that have gone on way too long. Here are the 10 best/most important parts from "Death and the Maiden."
1. Katherine is dying, legitimately: Last week, Katherine freaked out when she realized her hair was turning gray and her teeth were falling out (I would be a little disturbed, too). Trying to figure out what the hell is wrong with her, she goes to Dr. Maxfield where he runs blood tests that all come back normal. He says that since she has lived over 500 years, the pace of her human life is obviously going to speed up, explaining that she most likely only has a few more months to live.
2. Amara can see (and touch!) Bonnie: Amara is roaming around the Salavatore dungeon (How cool is it that they have a dungeon!? And use it on a regular basis!) and she is going out of her mind, as per usual, talking to people that aren't there. However, when Jeremy (with a ghostly Bonnie following) brings her a sandwich, Amara sees and speaks to Bonnie. Suddenly they realize that Amara can see and touch Bonnie because she is the anchor. Amara, in fact, is not totally crazy, but is just able to see both the living and the dead. This is when Bonnie and Jeremy come up with the brilliant plan to swap in Bonnie as the anchor, so she can come back to life (sort of). Side-note: Amara is completely suicidal after being the anchor, so maybe this isn't the best idea. We don't want to see Bonnie go crazy too – though I do want her back in the land of the living, I'm really sick of the Bonnie/Jeremy "I want to touch you but I can't" story.
3. Stefan plans to kill Silas: Stefan explains to Elena that he is having nightmares since Tessa gave him back his memories. In fact, he feels his time in that safe so clearly that it's basically like being down there again. So, in order to stop these visions, Stefan says he believes that killing Silas will be the trick in getting rid of them, because if he doesn't do something soon he is going to lose his mind or turn off his humanity – or both (uh-oh).
4. Tessa casts a spell: Damon informs Tessa that Silas wants to kills Amara and let her die in peace (while effectively destroying the other side), and convinces her that she should do a spell to swap Bonnie in as the anchor (since Silas reneged on his promise to bring her back). Tessa agrees, but says she would need something powerful to do the spell... something like doppelganger blood. Damon frustratedly says, "You want doppelganger blood? I got doppelgangers coming out my ears!"
5. Katherine and Tessa strike a deal: When Tessa arrives at the Salvatore house, she encounters Katherine, who says she will only give Tessa her doppelganger blood if Tessa can find a way to stop Katherine from aging. Tessa agrees to do it after they cast the spell, and Katherine agrees. (Quick question, Katherine: why are you trusting Tessa?)
6. Spells and stabbings: While Tessa is casting the spell to make Bonnie the anchor (using Katherine, Amara, and Elena's blood) the power suddenly goes out because Silas is stopping the spell (remember, he's a witch or something). When the lights come back up, Stefan and Amara are gone, but Silas appears and stabs Tessa, saying she tortured him and Amara for 2,000 years, why can't she just let it go and let them die in peace? Tessa replies that she loves him. Cockily Silas says, "Yeah, well, get in line." (Can I just be the first to say that Silas is pretty awesome? Except for the fact that he's evil, he's pretty hilarious, and provides some much needed comic relief to TVD ... too bad he dies soon.) During this little conversation, we also find out that vampire blood can't heal people who have taken the cure. Katherine tries to heal the cut that Tessa made on her hand by drinking Caroline's blood, but she quickly and violently spits it out, almost as if it burns her.
7. Stefan lures out Silas: In the woods, Stefan is holding Amara hostage, and calls Silas saying that he will kill Amara is he doesn't come and get her. Quickly Silas appears and Amara asks for forgiveness, but she just can't live anymore. (This scene is heartbreaking, and shows a sweet side to Silas. It is also another moment to appreciate the acting chops of Paul Wesley and Nina Dobrev, who were completely convincing in their portrayal of Silas and Amara. In no way did I feel like I was watching Stefan and Elena.) Once Silas is about to kill Amara, Stefan shows up and chokes Silas. But Silas quickly gives Stefan a witchy headache and explains that Stefan can't even relate to the pain that Silas has been through, living through three months in a safe is nothing compared to living as a stone for 2,000 years. However, Stefan needs to get rid of the visions and stabs Silas, effectively killing him for good.
8. Damon finds Amara: Elena convinces Damon to go look for Stefan while Tessa, who is stabbed and bleeding, finishes the spell to swap Bonnie in as the anchor. However, when Damon gets to the woods, he instead finds Amara, who has stabbed herself with the knife from Silas. Damon quickly realizes that if she dies too soon, Bonnie won't be anchor and the other side will be destroyed. He tries to feed her his blood, but since she took the cure, it doesn't work. He then resorts to begging Amara to hold on, but she explains, "I've been in hell for 2,000 years." To which Damon wittily replies, "What's another five minutes?" But, unfortunately, it looks like Amara has died too quickly for the spell to work.
9. Bonnie is back: In the Salvatore house, Bonnie and Jeremy say their goodbyes because it looks like Bonnie will very soon, be dead for good. Jeremy says he loves her and Bonnie tearfully agrees. However, when he goes to touch her, he realizes he can feel her. Apparently the spell worked and Bonnie is now officially the anchor. The two happily embrace (which, weirdly, did absolutely nothing for me emotionally) but then Caroline and Elena see her and they all hug and cry (which, oddly, was extremely emotional– I've missed these three!). In another room, Katherine finds Tessa so she can keep her promise and cure Katherine from aging. Unfortunately for Katherine, Tessa has cut her wrists and is bleeding out, thinking that Silas is waiting for her on the other side. Then, once dead, Tessa appears to Bonnie, and informs her that every time a supernatural dies, they will have to pass through her. Oh, and Bonnie, it is going to hurt like a bitch. (Remember when I deemed this a really bad idea? Did you guys learn nothing from crazy Amara?)
10. Stefan breaks our hearts: When Stefan returns to the Salvatore house, he finds Elena and explains that when he was down in that safe all he thought about was her and Damon, and that's how he got through it. He says, when that safe opened, "I wanted it to be you." Then Damon walks up behind Elena and Stefan says, "I wanted it to be both of you." (Crying, we are all crying Stefan.) Then, in the inevitable cliffhanger, Stefan goes to bed, but quickly jumps up from another nightmare, realizing that killing Silas did not end his visions, and his torture will continue.
Alright, as usual, I have a bunch of questions. Firstly, how is Stefan going to get rid of these visions? Will they cause him to go insane and turn off his humanity switch, going all psycho/ripper Stefan? Are we going to get to see the Silas/Amara/Tessa love-hate fest play out on the other side since Bonnie can now see them? Will Bonnie go crazy like Amara did, since she now has to deal with both the living and the dead? Will Katherine actually die, or will Maxfield somehow be able to save her? Will Katherine and Maxfield get together? (He is way too hot not to have a love interest.) And finally, and most importantly, where the hell is Matt!? This is now three episodes he has not been in. I'm annoyed.
Check out the promo for next week's episode "Dead Man on Campus" below. (Spoiler: Bonnie gets a haircut!)
The Vampire Diaries airs Thursdays at 8 PM ET on The CW.
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Deryck Whibley is on a mission to recoup his birth name - the singer took ex-wife Avril Lavigne's name when they wed in 2006 and now he wants rid of it. The Sum 41 frontman decided to legally change his name to Deryck Jason Lavigne Whibley when he tied the knot with the pop singer, but now, three years after their divorce, Whibley is finally getting around to changing his name.
He recently filed a petition in a Los Angeles County Court to drop 'Lavigne' and go back to his birth name, according to TMZ.com.
Meanwhile, Lavigne has moved past their broken marriage at a quicker pace - she exchanged vows with Nickelback singer Chad Kroeger in July (13).

In preparation for the December release of The Hobbit: The Desolation of Smaug, seven new posters for director Peter Jackson's second installment of the Hobbit trilogy have been released via the film's Facebook page. And if the posters are any indication of what's to come, it looks like Bilbo Baggins and his gang of warriors are more than ready for battle.
The posters feature the familiar faces of Bilbo (Martin Freeman), Gandalf (Ian McKellen), Thorin (Richard Armitage), Legolas (Orlando Bloom), and Thranduil (Lee Pace), and introduce the characters Bard the Bowman (Luke Evans) and Tauriel (Evangeline Lilly). While the posters are epic, we're slightly disappointed that there isn't a group shot of our favorite gang of dwarfs or one of the villain of the film, Smaug (played by Benedict Cumberbatch). Hopefully, we can look forward to seeing a few more posters before the film is released.
Check out all seven of the posters below:
Bilbo Baggins finally knows how to wield his sword... maybe.The Hobbit/Facebook
Thorin is prepared to lead the battle of all battles.The Hobbit/Facebook
Gandalf might be secretly homeless.The Hobbit/Facebook
Bard the Bowman is ready to give Legolas a run for his money.The Hobbit/Facebook
But it's okay because Legolas can pierce his victims with his arrow and his eyes.The Hobbit/Facebook
Tauriel is beyond fierce.The Hobbit/Facebook
And Thranduil is the prettiest elf of them all. Just look at that headpiece.The Hobbit/Facebook
The Desolation Of Smaug follows Bilbo, Gandalf, the dwarves, and the elves as they continue their journey to take back their gold from the dragon, Smaug. The film hits theaters on Dec. 13.
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CBS Films
Getting the likes of Robert De Niro, Morgan Freeman, Michael Douglas, and Kevin Kline in one film should be a recipe for a rousing success, and in many ways throughout Last Vegas, the casting is very successful. The main cast gives everything actors can really contribute to a film, and they excel as well as they can with what they're given. But the film shows that, at the end of the day, the script is king, and Last Vegas falters because its dreadfully weak writing hinders some fun performances.
Like another Vegas comedy, to which comparisons are unavoidable, the film centers around a bachelor party. Billy (Douglas) is trying to hold onto his youth with the grip of an iron vice. He's engaged to a much younger woman and decides that his wedding is the perfect time to rekindle his relationship with his three best friends, a group friendship that has frayed over the years. Archie (Freeman), Paddy (De Niro) and Sam (Kline) pack up to experience a weekend full of geriatric high jinks before Billy's wedding. Each of the four characters travels to Vegas with a certain amount of baggage stowed away in the carry-on compartment, and it's all related to aging, but the resolution to all of these character threads ends way too predictably. The first resolution to each of their stories that swirls around in your head while watching will undoubtedly be the one that pops up on screen before the credits roll.
One of the biggest sins Last Vegas makes is that it's just not all that funny, and the problem lies in the script. The film seems content with telling the same joke about old people over and over again, ad nauseam. It can barely mine humor from any other source besides the characters' advanced ages, pounding that theme into your head like a pulsing jackhammer. Jokes are fired at a machine gun pace, but so many of them fall ridiculously flat. Even when the cast is able to sell some of the feeble punchlines, they still aren't very clever or memorable. If anything, it makes it clear to see why these actors are as celebrated as they are. They all posses a serious amount of charm that bounces across the screen and makes the duds clank a little less loudly.
CBS Films
In fact, any enjoyment to be had from Last Vegas stems solely from the performances of the principal men, and sultry lounge singer Diana (Mary Steenburgen). All five actors possess a natural chemistry that carries the film's limp material around long after the script has forgotten how to be clever. They all have an excitable energy that permeates the rest of the film, but energy means little when they aren't saying anything particularly interesting. During the film, you're never quite bored or offended, but you're never excited either. It just chugs along in a miasma of general competence but not much else.
Last Vegas isn't quite dead on arrival but it's no a spring chicken either. Its high points ride on the backs of its stars' finely aged charisma, and much of the pleasing aspects that exist in Last Vegas would still be intact if the film just consisted of the actors sitting in a room, chewing the fat with each other without a script or direction. At the very least, they would have fewer stupid things to say. What happened in Vegas probably should have stayed there.
2/5
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After hearing just a few seconds of Benedict Cumberbatch's evil dragon voice in the new trailer for The Hobbit: The Desolation Of Smaug, it already looks like the second Hobbit installment is going to be brimming with adventure, which should make the naysayers of the the less-than-action-packed The Hobbit: An Unexpected Journey quite happy.
This second preview from Warner Bros. features Legolas (Orlando Bloom) masterfully swinging his sword and crushing on arrow-wielding Tauriel (Evangeline Lilly), Thranduil (Lee Pace) and Gandolf (Ian McKellen) spewing advice, Thorin (Richard Armitage) being stubborn, and most importantly, the villainous voice of Smaug (Benedict Cumberbatch) beckoning the brave Bilbo (Martin Freeman) to come out to play (BBC's Sherlock flashbacks, anyone?).
New Line Cinema
The Desolation Of Smaug follows the dwarves, Bilbo, and Gandalf as they continue their journey to take back their gold from the dragon, Smaug. The film hits theaters on Dec. 13.
The Hobbit: There and Back Again, the third installment in Peter Jackson's prequel trilogy, is expected to hit theaters on Dec. 17, 2014.
More:The Dwarves Make a Workout Video in Latest 'Hobbit' Production DiaryFirst Trailer for 'The Hobbit: The Desolation of Smaug' is Elf-Tastically ExcitingBilbo Reaches the Lonely Mountain in 'The Hobbit: The Desolation of Smaug' Poster
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Showtime
Let’s see, where did we leave off with Season 2 of Homeland? Brody (Damian Lewis) is hiding in the Canadian woods (presumably surviving off of fresh maple syrup), his family is about to start suffering the repercussions of his terrorist ties, Saul (Mandy Patinkin) is now in charge of the CIA and has to fix some minor things (you know, the bomb that killed over 200 civilians), and Carrie (Claire Danes) needs to pull it together. Sounds like Homeland to me. (If you need a more detailed reminder of the season, check out my season two finale refresher recap.)
Truth be told, after the end of season two, I was about ready to give up on Homeland. There’s no denying that the second half of the season just wasn’t up to par with the quality of season one; it had plot-holes and the story didn’t seem to be progressing in any specific direction. And worse yet, the thrill of the spy drama became muddled with the far-from-perfect romantic relationship between Carrie and Brody, which I personally could not get behind. (Carrie had Brody right where she wanted him and then her naïve heart got in the way of things.) However, the season two finale left us all wondering who Brody really is (again), and because of the Clue-loving fan inside of me that just couldn’t give up on the mystery of it all, I’m back for the third season.
"Tin Man Is Down"
Based on this episode, it’s clear that the writers and producers of Homeland have been listening to the viewers because they have reverted back to their old ways: making us question Brody’s innocence and Carrie’s sanity. Why? Because they know it’s what got us hooked in the first place. The question in season one was whether or not Brody had been turned, and the drama of it was that Carrie believed that he had been, but no one would believe her. Cut to the season three premiere: the audience doesn’t know if Brody’s the good guy or the bad guy, and once again, Carrie is fighting to prove that she’s right about Brody (only this time, she’s trying to prove his innocence).
I thought I would be satisfied getting back some of what made season one so addicting, but unfortunately, the plotline so far is just too similar to what we’ve seen before: Carrie has stopped taking her meds (big surprise) and no one believes her story about Brody. Déjà vu, anyone? The episode was slow moving, and while it did have a spy scene similar to the ones in the episodes of yesteryear, it wasn’t enough to pull it all together. There was effort to put more emphasis on Saul, Dana (Morgan Saylor), and Quinn (Rupert Friend), but so far, their stories don’t have a strong enough pull.
The episode begins with a shirtless Quinn (so far, so good) assembling what appears to be a bomb, but quickly switches over to Carrie being questioned at a hearing. Thanks to the bombing from last season, the CIA is in some serious trouble, and some higher-ups in the government want to demolish it for good. (The fact that the show so nonchalantly talks about the CIA simply being shut down seems quite unrealistic, but then again, Homeland seems to thrive off imagined situations. In the show’s credit, later on in the episode Saul explains that the CIA’s charter says that it can be shut down.)
The person interrogating Carrie, Senator Andrew Lockhart (Tracy Letts), asks, “How can the CIA protect this country if it can’t even protect itself?” Snap. Carrie proceeds to muffle a Claire Dane’s cry-face and admits that Abu Nazir outsmarted her. You can see the guilt engulfing her as she admits her mistake.
The hearing is called to recess, and the camera cuts to her notepad, which is covered in theories and crazy notes, very similar to the massive chart she had on her living room wall (again, repeating storylines). It turns out that Carrie has stopped taking her meds because she believes it’s what prevented her from stopping the bombing. She copes with everything that’s going on in her life by buying an insane amount of alcohol and having sex with a random guy she meets in the liquor store. So, things are obviously going well for her.
Meanwhile, Dana has some serious issues of her own. Apparently she tried to commit suicide and is graduating from a therapy program. While I’m usually irritated by almost everything that Dana does (she’s just so moody), her “cry for help” was completely realistic -- she found out that her dad is/was a terrorist and she just couldn’t cope. But then she goes right back to being predictable and irritating Dana when it’s revealed that she’s involved with another patient, Leo Carras (Sam Underwood), who she likes to send nudey pics to.
I was hoping that Dana would have grown up a little more, but it seems like the show is still going to have a focus on Dana’s teenage immaturity. As for the rest of her family, Jessica (Morena Baccarin) and Chris (Jackson Pace), not much else has changed in their lives except for Jessica’s mom moving into the house (her character seems relatively annoying and unnecessary).
As for Saul, he has taken over for Estes as head of the CIA and is currently in the middle of catching the culprits responsible for the attack. (The President obviously wants to get Brody, but since they don’t know where he is, Saul has to eliminate other players that were involved with the bombing.) Saul has to decide if he’s ready to approve a mission to take out six men -- an ethical dilemma that runs the course of the entire episode. Mira (Sarita Choudhury) is back in the States, and she’s the voice of reason in Saul’s life. According to her, “the world is paralyzing” him. He can’t decide what to do about the mission, his relationship with Mira, or his problems with the CIA and Carrie. Mira’s right; he is paralyzed.
Saul eventually decides to OK the mission, and six separate hits are made within 15 minutes of each other (a scene that is supposed to excite us, but rather just falls flat). One of the hits is made by Quinn who fails to kill his target the first time around because the target’s child would have been harmed. However, when Quinn later successfully kills him, he mistakes the boy for another enemy target and accidently murders him. He is clearly distraught. Hopefully this emotional drama is foreshadowing an extended stay on the show for Quinn and a storyline that we can get behind.
Cutting back to the senate drama, it appears as if there’s a leak in the CIA that has been feeding incriminating information to Senator Lockhart. Carrie freaks out and accuses Saul and his CIA cronies for using her as a scapegoat, but they deny everything. But then at the end of the episode, an extremely surprising character change happens: Saul speaks at the hearing, and after patting his own back, blames the CIA’s mistakes on Carrie, her relationship with Brody, and her mental instability. Saul might not be the man we always thought he was.
The episode ends with Saul blindsiding Carrie and throwing her under the bus. While this was probably supposed to be the big ending that keeps us all hooked, it didn’t really have a shock-and-awe factor. Yes, Saul isn’t usually the one putting her down, and yes it was out of character for him, but we’ve all seen Carrie under a big pile of crap before. It’s nothing new.
This show isn’t supposed to be a courtroom drama with some looming government official breathing down the CIA’s neck. The show is at its best when Carrie is doing what she does best: being a spy. Saul’s CIA killing spree was exciting for all of three seconds, but it just doesn’t match up to the rush of adrenaline that we get when Carrie’s tracking down the bad guys. Hopefully Homeland will be able to pick up the pace and find its season three groove.
More:'Homeland: The Musical' Brings Out a Whole Other Side of the Showtime Drama'Homeland' Season 3: Damian Lewis Thinks Brody Won't Survive'Homeland' Season 3 Trailer is So Good it Doesn't Need Words
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Justin Timberlake wants to form a teen dream supergroup featuring his 'Nsync bandmates and One Direction. The veteran U.S. singers - Timberlake, JC Chasez, Lance Bass, Joey Fatone and Chris Kirkpatrick - reunited at the MTV Video Music Awards last month (Aug13) after going on extended hiatus in 2002.
Now Timberlake has suggested their comeback could be even more spectacular - he wants to form an all-boy supergroup with the five lads in One Direction.
Timberlake tells U.K. TV show Daybreak, "Really can 10 of those hairstyles be on the same stage? I think we already know the answer... We should just form like some supergroup. It'd be hilarious.
"I haven't seen the One Direction lads too much just because I'm constantly moving, probably at the same pace they are, but what I have seen, I think I like them. They seem grounded to me. I like that about them."

Appeared opposite Kristen Bell and Josh Duhamel in the romantic comedy "When in Rome"

Cast as Ronan the Accuser in "Guardians of the Galaxy"

Played the role of Calpernia Addams, a transgender woman dating Army soldier (Troy Garity) in Showtime's "Soldier's Girl"; received nominations for a Golden Globe for Supporting Actor and an Independent Spirit Award for Male Lead

Appeared in several Shakespearean roles while attending the Juilliard School

Cast as King Thranduil in "The Hobbit: An Unexpected Journey," based on the novel by J.R.R. Tolkien and directed by Peter Jackson

Made TV debut guest-starring on an episode of NBC's "Law & Order: Special Victims Unit"

Breakout role in "Soldier's Girl"

Acted in productions of "The Spider's Web" and "The Greeks" at Houston's Alley Theatre

Cast in the lead role of Ned on critically acclaimed ABC series "Pushing Daisies"; earned Best Actor Golden Globe (2008) and Emmy (2008) nominations

Starred in the live-action film based on the comic strip "Marmaduke," featuring the voice of Owen Wilson as the title character

Acted in Craig Lucas’ off-Broadway production of "Small Tragedy"

Made feature debut in "White Countess"

Summary

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Name

Role

Comments

Education

Name

The Juilliard School

Klein High School

Alley Theatre

Notes

As a young child, Pace spent several years in Saudi Arabia where his father was in the oil business.

His classmate at Klein High School was actor Matt Bomer ("Flightplan," 2012)

His class at Julliard, Group 30, included Anthony Mackie and his "Wonderfalls" co-star, Tracie Thoms.

Made his Broadway debut in "The Normal Heart" (2011).

Lost 25 pounds to play Calpernia Addams in "Soldier's Girl."

Despite his critical acclaim for "Lincoln," Pace was not included among the list of actors nominated for Best Ensemble by the Screen Actors Guild.